In an environment like this one, it’s no surprise that vocals turn out being straight-on roars that would certainly do with more expression, but they do fit. There are short moments of vocal duets with the band’s feminine part. The ones in …And Luna don’t work very well – I’m afraid her voice doesn’t agree with the unforgiving, but otherwise excellently hard production. The ones in Horizon are calmer though, and prove better too.

At the time Foundling arrives, it feels ruminated already. The elements have been tried, been better and this is only a stretched-out filler. Like a soft package at Christmas, it might seem interesting at first, but one quickly loses interest. It doesn’t end very quickly though. The ending song, Horizon, Elm’s Fire’s peek of song writing is apparently three minutes longer than Foundling, but that is hard to notice. The frequent tempo switches and bridges, the controlled variation and the ever-adapting melody is what makes this song the second best one – because the jawbreaker that is Dreadnought takes the cake.